Of Pop and Prostheses: Vienna 1965-72

By Jon Cummings

Concerning the brief but intensely focussed design interest in pneumatics and transient environments affecting avant-garde European scenes in the late 1960s, Vienna’s comes down to us today as arguably the most prolific, poetic, and hermeneutically opaque. This paper positions the work as demonstrating pop sensibilities concerned with prosthetic expansion of the architect’s space-making capacity, its origins steeped in Semper’s notion of clothing as the original architectonic device, and its cultural moment inflected by cold-war anxieties and liberated sexualities. The material nature of these transparent, bodily responsive devices were dually architectures for survival, and clean prophylactic environments for the sex act.

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